Cecilia Fajardo-Hill is a Latina / British/ Venezuelan art historian, curator, and writer on modern and contemporary art, focusing on Latin American and Latinx art. Fajardo-Hill has a PhD in Art History from the University of Essex, England and an MA in 20th Century Art History from the Courtauld Institute of Art, London, England.  She has published and curated extensively on Latin American and international artists. She co-curated Radical Women: Latin American Art 1960-1985, Hammer Museum, Los Angeles, 2017; the Brooklyn Museum, New York; and Pinacoteca, São Paulo, 2018. She was co-curator of Xican-a.o.x. Body, Cheech Center for Chicano Art in Riverside, 2023; Perez Art Museum, Miami, 2024. She is editor of Remains Tomorrow: Themes in Contemporary Latin American Abstraction, Berlin: Hatje Cantz, 2022, and co-editor of País Matinal: A Critical History of Guatemalan art, 1870-2020, 2026. She received the Andy Warhol Foundation Arts Writers Grant; was Visiting Scholar at the Chicano Studies Research Center de UCLA, Los Angeles; Visiting Research Scholar, Princeton University; Clark Fellow in residence at the Clark Art Institute, and Central American Visiting Scholar of DRCLAS, Harvard University. She was 2024-25 co-chair for the 2025 Latin American Studies Association Congress (LASA), San Francisco, CA. Fajardo-Hill is Associate Professor of Museum Studies and Art History and Director of the Northlight Gallery, Arizona State University.

Raphael Fonseca is a curator and head of the department of modern and contemporary Latin American art at the Denver Art Museum. He holds a PhD in criticism and art history from the State University of Rio de Janeiro. The juxtaposition of different temporalities and how this can trigger contemporary reflections for audiences is crucial in his practice. Recently, he curated Fullgas: visual arts and the 1980s in Brazil (2024) in all venues of Centro Cultural Banco do Brasil and the 14th Mercosur Biennial: Snap, in Porto Alegre, Brazil (2025). He is part of the curatorial ensemble of Counterpublic 2026, a Triennial of visual arts held in St. Louis, USA. He works with artists from everywhere, but with a more significant focus on the ones born and/or based in the so-called Global South.

Tie Jojima is Curator of Global Contemporary Art at the Phillips Collection in Washington, DC. Her curatorial work centers contemporary art and its dialogues with queer, decolonial, and diasporic issues. Born and raised in São Paulo, Brazil, Jojima has completed her PhD dissertation at the Graduate Center, CUNY, where she has focused her research on postwar Latin American art. Jojima has previously worked as an Associate Curator at Americas Society in New York, where she has co-curated critically acclaimed exhibitions such as The Appearance: Art of the Asian Diaspora in Latin American & the Caribbean, El Dorado: Myths of Gold (2023-2024), among others. She has published academic and curatorial texts for Vistas: Critical Approaches to Latin American Art (ISLAA), Arte & Ensaios, Museu de Arte de São Paulo (MASP), El Museo del Barrio, among others.

Amanda Sroka is a curator whose creative work focuses on global histories of contemporary art with a specialized interest in interdisciplinary practices that operate at the intersections of our personal, political, and material worlds. In 2022, she joined as the Senior Curator at the Institute of Contemporary Art, Los Angeles where she has organized presentations dedicated to the work of Carmen Argote, Jackie Castillo, Chris Emile and No)One. Art House, Will Rawls, Christine Sun Kim, Trương Công Tùng, and Alberta Whittle, and supported with Scientia Sexualis (2024), Barbara T. Smith: Proof (2023), and Milford Graves: Fundamental Frequency (2023). She was previously Associate Curator of Contemporary Art at the Philadelphia Museum of Art where she organized solo projects with Lawrence Abu Hamdan, Martine Syms, Zoe Leonard, Senga Nengudi, Marisa Merz, Yael Bartana, and Jitish Kallat, as well as group exhibitions such as Fault Lines: Contemporary Abstraction by Artists from South Asia. Prior to that, Sroka was a curatorial assistant at the New Museum in New York.

Carolina A. Miranda is an independent cultural critic based in Los Angeles covering visual art, design, performance, books, and digital life for outlets such as The New York Review of Books, The Atlantic, the Washington Post, Fresh Air, the New York Times, and KCRW. Her reports and reviews have explored subjects such as emerging Latin American fiction, the fraught legacy of Confederate monuments, and the intersection of aesthetics and politics.

Prior to working as a freelancer, Miranda was a staff writer and columnist at the Los Angeles Times for nearly a decade. She is a winner of the 2017 Rabkin Prize in Visual Arts Journalism and a 2024 recipient of the Warhol Foundation Arts Writers Grant. She also served as founding co-chair of the Los Angeles Times Guild, the first newsroom union in The Times’ nearly 140 years in existence.